As revealed on Twitter over the last few weeks, here's the complete rundown of the 25 best tracks of the year.
25. When I'm Alone- Lissie
24. Wrecking Bar (Ra Ra Ra)- Vaccines
23. We Are Sex Bob-Omb- Sex Bob-Omb
22. All Eyes On You- Philip Selway
21. Blue Blood Blues- The Dead Weather
20. Tighten Up- Black Keys
19. Fast Car/Slow Traffic- Paul Weller
18. Drunk Girls- LCD Soundsystem
17. Dead American Writers- Tired Pony
16. Crossover- Magnetic Man ft Katy B
15. Laredo- Band Of Horses
14. Truth Sets In- Avi Buffalo
13. POWER- Kanye West
12. Photoshop Handsome- Everything Everything
11. Devil's Spoke- Laura Marling
10. Bloodbuzz Ohio- The National
9. Stylo- Gorillaz
8. Tightrope- Janelle Monae
7. (It's Not War) Just The End Of Love- Manic Street Preachers
6. Fuck You- Cee-Lo Green
5. Spanish Sahara- Foals
4. Month of May- Arcade Fire
3. Pass Out- Tinie Tempah
2. Tenderoni- Kele
AND THE WINNER IS...
1. Stay Too Long- Plan B
Perhaps not as revolutionary as many tracks that have found their way onto this list, Plan B's comeback nevertheless tops this chart based on the explosive impact it had when it was first heard. Ben Drew had found considerable success as a potty-mouthed rapper singing about social issues like child abuse and alcoholism. But after the revelation of his voice on Chase & Status' End Credits single at the end of last year, Plan B spent the year living the life of Strickland Banks, the soul man whose life is destroyed on his album.
The song depicts a night out after a big gig. Strickland heads to a bar, gets blindingly drunk, runs from the law, takes drugs and finally ends up having an a one night stand with an obsessive fan (feeding directly into next single, She Said). The heady rush that Drew sings and raps about is captured perfectly in the music, an exhilarating run through the London streets.
Stay Too Long didn't quite go for the full-on soul of tracks like Praying, She Said and Love Goes Down, but this was easily the most exciting sound of the year, all the while Drew keeping up with the social explorations of his older work.
It's with a level of sadness we learn that Plan B is returning to hip hop next year. But if his next album The Ballad Of Belmarsh can retain the artistry of songs like this then it's also something that can be faced with excitement too.
Tuesday 28 December 2010
Monday 27 December 2010
Review Of The Year: Best Albums Part 3 (The Top 5!)
This is it...after much deliberation, these are the top five albums of 2010 according to Rockinfreakopotimus. If you don't agree with the choices or want to have your say, leave a comment and let the debate begin.
This is the best music of the last 12 months, and I hope you've enjoyed the top 25. Rockinfreak will be back soon with a look forward to 2o11.
5. The Besnard Lakes- The Besnard Lakes Are The Roaring Night
The band's first album, The Besnard Lakes Are the Dark Horse, was one of the most underrated albums of the last decade, and it's sequel is looking to head the same way. Largely ignored in other end-of-year lists, this absolutely deserves to be heard. Filled with deep, sumptious epics, this takes the sonic distortion of bands like MBV, turns it down and suffuses it with slow-burning melody. Absolutely delicious.
Best Track: Like The Ocean, Like The Innocent Part 2: The Innocent
4. The Archandroid- Janelle Monae
Following on from last year's EP, suites II and III of Janelle Monae's Metropolis-obsessed robotic love story did not disappoint. The story was almost incomprehensible, but like all the greatest concept albums, the songs are of such a uniform standard that it would work without it. Some of the most inventive and sheer FUN pop music of this or any other year, she's a mindblowing live act to boot.
Best Track: Tightrope
3. Plastic Beach- Gorillaz
To say that Damon was under pressure for this would be an understatement. Demon Days was one of the best pop albums of the last decade, and for its follow up, Albarn went further into the rabbit hole. While vocally the focus is even more off him, this is his vision through and through- brave, bold and uncomprimising. Lou Reed, Snoop Dogg, Bobby Womack, Jones and Siminion, Mos Def and De La Soul were queueing up to be part of this masterpiece, and not even an ill-advised appearance at Glasto can stop this being Damon's year
Best Track: Stylo
2. The Suburbs- Arcade Fire
The most critically-celebrated album of the year (it's been made official), and who am I to argue? Neon Bible was biblically awesome, but could have proved a creative cul-de-sac.
Rather than top it, the Canadians pulled back and scaled down, with a trip to their hometown inspiring a look at the oft-observed city outskirts. The depressing, suffocating air that fills those towns is present here, but the band punch through the fog, dreaming of escape. What we're left with is a relatable album, filled to burst with musings on modern life. Worht every word of praise it's given.
Best Track: Month of May
And the album of the year goes to...
1. I Speak Because I Can- Laura Marling
A wonderful breath of youthful, folky air with her debut album Alas, I Cannot Swim in 2008, the leap forward on its follow up is astronomical. With a stronger embrace on more traditional folk songwriting on tracks like Rambling Man and Goodbye England (Covered In Snow), Laura mixes this with a less traditional approach to recording to push the genre out of obscurity and into relevance to a 21st Century audience.
Marling voice has deepened and grown. On Alas...she was a young girl, but on I Speak Because I Can she is fully woman. It's darker and more mature, which is a familiar path for second albums, but this one sidesteps the cliches entirely. The opening needle crackle and ominous chords of Devils' Spoke will stop you in your tracks, and Marling will not let go until she has proved her independent talent at the end of the title track. Make no mistake, this album gets under your skin, and offers more than enough subtlety to allow the songs freshness even after 300 listens.
The promised follow-up has yet to materialise but no matter. Laura Marling has confirmed herself as a talent with a long, open future
This is the best music of the last 12 months, and I hope you've enjoyed the top 25. Rockinfreak will be back soon with a look forward to 2o11.
5. The Besnard Lakes- The Besnard Lakes Are The Roaring NightThe band's first album, The Besnard Lakes Are the Dark Horse, was one of the most underrated albums of the last decade, and it's sequel is looking to head the same way. Largely ignored in other end-of-year lists, this absolutely deserves to be heard. Filled with deep, sumptious epics, this takes the sonic distortion of bands like MBV, turns it down and suffuses it with slow-burning melody. Absolutely delicious.
Best Track: Like The Ocean, Like The Innocent Part 2: The Innocent
4. The Archandroid- Janelle MonaeFollowing on from last year's EP, suites II and III of Janelle Monae's Metropolis-obsessed robotic love story did not disappoint. The story was almost incomprehensible, but like all the greatest concept albums, the songs are of such a uniform standard that it would work without it. Some of the most inventive and sheer FUN pop music of this or any other year, she's a mindblowing live act to boot.
Best Track: Tightrope
3. Plastic Beach- GorillazTo say that Damon was under pressure for this would be an understatement. Demon Days was one of the best pop albums of the last decade, and for its follow up, Albarn went further into the rabbit hole. While vocally the focus is even more off him, this is his vision through and through- brave, bold and uncomprimising. Lou Reed, Snoop Dogg, Bobby Womack, Jones and Siminion, Mos Def and De La Soul were queueing up to be part of this masterpiece, and not even an ill-advised appearance at Glasto can stop this being Damon's year
Best Track: Stylo
2. The Suburbs- Arcade FireThe most critically-celebrated album of the year (it's been made official), and who am I to argue? Neon Bible was biblically awesome, but could have proved a creative cul-de-sac.
Rather than top it, the Canadians pulled back and scaled down, with a trip to their hometown inspiring a look at the oft-observed city outskirts. The depressing, suffocating air that fills those towns is present here, but the band punch through the fog, dreaming of escape. What we're left with is a relatable album, filled to burst with musings on modern life. Worht every word of praise it's given.
Best Track: Month of May
And the album of the year goes to...
1. I Speak Because I Can- Laura Marling
A wonderful breath of youthful, folky air with her debut album Alas, I Cannot Swim in 2008, the leap forward on its follow up is astronomical. With a stronger embrace on more traditional folk songwriting on tracks like Rambling Man and Goodbye England (Covered In Snow), Laura mixes this with a less traditional approach to recording to push the genre out of obscurity and into relevance to a 21st Century audience.
Marling voice has deepened and grown. On Alas...she was a young girl, but on I Speak Because I Can she is fully woman. It's darker and more mature, which is a familiar path for second albums, but this one sidesteps the cliches entirely. The opening needle crackle and ominous chords of Devils' Spoke will stop you in your tracks, and Marling will not let go until she has proved her independent talent at the end of the title track. Make no mistake, this album gets under your skin, and offers more than enough subtlety to allow the songs freshness even after 300 listens.
The promised follow-up has yet to materialise but no matter. Laura Marling has confirmed herself as a talent with a long, open future
Albums Of The Year part 2 (15-6)
15. Queen of Denmark- John GrantThe Czars frontman returned from a long spell in the drug-ravaged wilderness, and headed into the studio with Midlake to record these wonderful ruminations on life. Melancholic, dark but always somehow joyfull, Grant reminded the world what a talented songwriter they had in him
Best Track: Where Dreams Go To Die
14. Man Alive- Everything Everything
Indie's seachange was definately on the other side of the Atlantic this year, with the genre being largely redundant in this country. The Manchester-based Everything Everything (and, more recently, The Vaccines) were an anomaly, bringing their pretentious, entertaining and catchy anthems to a downbeat nation.
Best Track: Photoshop Handsome
13. This Is Happening- LCD Soundsystem A massive crushing disappointment compared to its predecessor, Sound of Silver. Mind you, how James Murphy and co were supposed to follow one of the most widely-regarded masterpieces of the last 25 years is anyone's guess. Based on the album's own merits, this was fresh, funny, innovative and exciting electronic pop. If this is indeed their last album together, they've bowed out in style.
Best Track: You Wanted A Hit
12. Infinite Arms- Band of HorsesIt took a Cee-Lo Green cover of No One's Gonna Love You to thrust them towards the mainstream, but on the merits of this, their third album and first as a unified band (despite their name). It didn't rock the boat too much: the usual mix of beautiful metodies, stunning harmonies and perfectly crafted songs, they just threw in a more ambitious tone.
Best Track: Laredo
11. Wake Up The Nation- Paul WellerAn unexpected delight, Weller dropped the folksie approach of his solo work to bring back the thrills. One of the most suprisinly experimental mainstream albums of the year, Weller's urge to "get your face off the Facebook and turn off your phone" clearly reenergised him too, and he was awarded with a Mercury nod for his troubles.
Best Track: Fast Car/Slow Traffic
10. Congratulatons-MGMTAn album whose reputation will perhaps unfairly follow it when mentioned in future, this was not the destructive, unlistenable disaster that was promised. Instead, the band shyed away from the weird pop of their debut into far more psychadelic territory, pushing their own boundries and writing songs about Brian Eno. Great cover art too.
Best Track: Siberian Breaks
9. High Violet- The NationalIsn't them being Barack Obama's favourite band enough? Ok then. The National proved to be the critical darlings of the year, and gained a loyal following, as shown with their Q Awards win. This was an album full of rich and warm melodies, given emotional weight by the soft burr of frontman Matt Berninger. Do believe the hype.
Best Track: Bloodbuzz Ohio
8. Familial- Philip SelwaySelway has done an amazing thing: banished all memories and presumptions on drummer albums. No one expected the Radiohead sticksman's debut to be this tender. Far more human then recent bandmate efforts, Selway unveiled a beautiful, fragile voice that transcended the usual bloke-with-an-acoustic-guitar album
Best Track: All Eyes On You
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7. The Defamation of Strickland Banks- Plan BBy far the most unexpected reinvention of the year, Ben Drew's jump from potty-mouthed rapper to socially-concious soul-man in the mould of Curtis Mayfield was a joy. Far from selling out, this jump kept the edge of his hip-hop and brought the issues to a wider audience, with a great story of soul star in downfall. Next year's return to hip hop, The Ballad of Belmarsh is an exciting prospect.
Best Track: Stay Too Long
6. Total Life Forever- FoalsFrequently running in ever-decreasing circles during adventures in math-rock, Foals proved themselves far more pallatable in more human form. Their intelligence and sense of adventure remained their main selling point, but a strong focus on songwriting proved to be their big success. The album soared at it's most emotional, as seen in the brilliant Spanish Sahara.
Best Track: Spanish Sahara
Wednesday 8 December 2010
Review of the Year 2010: Best Albums (25-16)
Right this is it...from today I will be looking at the best (and, in places, worst) this year has had to offer. So let's get the album countdown underway:
25. Flaws- Bombay Bicycle Club
Found moderate success as a run of the mill indie group with their first album, but it was with this they became a far more interesting acoustic proposition. In a year filled with suprising reinventions, this was one of the best.
Best Track: Rinse Me Down
24. Sea of Cowards- The Dead Weather
After a promising but somewhat underwhelming debut, Jack White's other "other" band hit back with a tough, bluesy offering to silence the critics. Updating the blues via Nick Cave's brand of fire and brimstone, White is one step away from taking over the universe.
Best Track: Blue Blood Blues
23. The Family Jewels- Marina & The Diamonds
In a year dominated by female pop artists, Marina Diamandis proved you didn't need to be stuck in retrofit or force your ubiquity to be an interesting artist. Her album filled with inventive, powerful pop songs proved this.
Best Track: Mowgli's Road
22. The Drums- The Drums
Hyped beyond the point of death, the leaders of this year's US indie invasion managed to live up to it for once. Dropping the surf-pop of their Summertime EP, their debut was filled with pert yet heartbreaking laments to love lost. Losing their guitarist has barely touched their confidence either.
Best Track: Forever and Ever Amen
21. Odd Blood- Yeasayer
Reinvention #2: formerly purveryours of world music through an indie prism, on album number 2, the Brooklyn group streamlined their focus into one of the most forward thinking pop albums of the year. They even scored some radio play with O.N.E, so the future is bright for one of the world's best kept secrets.
Best Track: Ambling Alp
20. Treats- Sleigh Bells
One of the big new sounds of 2010 to hit the mainstream was this: mixing sweet, Shangri-La alike vocals to tough hardcore dance-rock. Sleigh Bells were by far the best at this new movement, and turned in a fascinating debut album.
25. Flaws- Bombay Bicycle Club
Found moderate success as a run of the mill indie group with their first album, but it was with this they became a far more interesting acoustic proposition. In a year filled with suprising reinventions, this was one of the best.Best Track: Rinse Me Down
24. Sea of Cowards- The Dead Weather
After a promising but somewhat underwhelming debut, Jack White's other "other" band hit back with a tough, bluesy offering to silence the critics. Updating the blues via Nick Cave's brand of fire and brimstone, White is one step away from taking over the universe.Best Track: Blue Blood Blues
23. The Family Jewels- Marina & The Diamonds
In a year dominated by female pop artists, Marina Diamandis proved you didn't need to be stuck in retrofit or force your ubiquity to be an interesting artist. Her album filled with inventive, powerful pop songs proved this.
Best Track: Mowgli's Road
22. The Drums- The Drums
Hyped beyond the point of death, the leaders of this year's US indie invasion managed to live up to it for once. Dropping the surf-pop of their Summertime EP, their debut was filled with pert yet heartbreaking laments to love lost. Losing their guitarist has barely touched their confidence either.
Best Track: Forever and Ever Amen
21. Odd Blood- Yeasayer
Reinvention #2: formerly purveryours of world music through an indie prism, on album number 2, the Brooklyn group streamlined their focus into one of the most forward thinking pop albums of the year. They even scored some radio play with O.N.E, so the future is bright for one of the world's best kept secrets.Best Track: Ambling Alp
20. Treats- Sleigh Bells
One of the big new sounds of 2010 to hit the mainstream was this: mixing sweet, Shangri-La alike vocals to tough hardcore dance-rock. Sleigh Bells were by far the best at this new movement, and turned in a fascinating debut album.
Best Track: Riot Rhythm
19. Diamond Eyes- Deftones
This year's been one dominated by pop and urban music, meaning it's been difficult at times to be a fan of metal and hard rock. Flying that flag were the metal Radiohead Deftones. Marrying a forward thinking attitude and strong melodies to the crunching guitars, this was by far their best set yet.
Best Track: Diamond Eyes
18. Band of Joy- Robert Plant
An erratic solo career in the shadow of a certain mothership came to an end in 2007 with the multi-grammy winning Raising Sand. Ever the restless soul, Plant left Alison Krauss behind to explore American country music deeper. He found there a set of wonderful songs to make his own, and the best backing band in the world.
Best Track: Even This Shall Pass Away
17. Brothers- Black Keys
No longer labelled White Stripes copyists,Auerbach and Carney moved into their own space on album number six. Smooth, funky and hearfelt, this was probably the most suprising US Top Ten hit of the year, but one of the most quietly exhilarating at the same time.
Best Track: Tighten Up
16. Crazy For You- Best Coast
Featuring on its cover the second most talked about cat of the year (presumably this one didn't end up in a bin), Best Coast led the Pavement-obsessed slacker movement from the West Coast. Lyrics about boredom, smoking weed and losing your boyfriend, this stood as one of the most accessible indie albums of 2010. Quite whether the formula can work again remains to be seen.
Best Track: Crazy For You
Tuesday 30 November 2010
Weird Science- We Are Scientists, Portsmouth Pyramids, 15/11/10
Usually-reliable Brooklyn duo fail to achieve lift off in Portsmouth...
Understatement of the year: We Are Scientists’ best times may be behind them. The Brooklyn-based group arrived in a 2006 mainstream with intelligent, punk-tinged indie on debut album With Love & Squalour. It stood at odds with the angular art-rock that was big at the time. Follow ups Brain Thrust Mastery and this year’s Barbara (yes, that’s an album title) have seen the band soften considerably into new wave.
They have managed to remain a successful live draw due to the quality of their shows and their hilarious stage banter. A mild south-coast November evening however finds the Scientists’ missing some of their chemistry and physics.
For the most part, a slightly subdued atmosphere hung over Southsea’s sweatbox. Odd support acts- the ambient techno freakery of Rewards were like putting Trivium on before Coldplay, while Goldheart Assembly’s superb show still recieve a muted response- and a long delay meant that the packed venue quickly got restless, with many fans sat on the floor.
Keith Murray and Chris Cain got a warm response when they walked on stage, but they didn’t burst on with a lick of musical flame. First song Nice Guys- one of the highpoints on the new album- feels a bit limp. It takes an early hit, With Love...opener Nobody Move Nobody Get Hurt to really get the blood pumping and for the Pyramids to live up to its reputation.
And it’s the “classics” that really fire this show up. It’s A Hit and This Scene Is Dead wake everyone up and produce a feverent response. It’s during their most well known song, The Great Escape, that the roof finally bursts off the Pyramids. These moments are wonderful, they just don’t come enough.
That’s not to say that there aren’t other high points from other albums. Jack & Ginger features some quite astonishing guitar work from Murray, His hair may be greying, but he still connects with his decidely pubescent audience. The stinging guitars can’t blunt his voice either, which carries a soulful burr beneath all the mayhem. It’s when he really lets loose on guitar and vocals that the band rediscover their live mojo. The set closes with After Hours (always driving harder live than the slightly insipid studio version) and the closing strains of Led Zep’s Moby Dick. The encore of Cash Cow is suitably electric, and with that, the band is gone into the autumnal evening.
But it’s impossible to shake the feeling that WAS weren’t quite at full pelt. Nerves seemed high on the agenda, as a tetchy audience frequently ignored their comedy, which was less hysterical than it’s famed for. They remain a superb live band when they let go. More of this please, and the band might just see better days.
3/5
Understatement of the year: We Are Scientists’ best times may be behind them. The Brooklyn-based group arrived in a 2006 mainstream with intelligent, punk-tinged indie on debut album With Love & Squalour. It stood at odds with the angular art-rock that was big at the time. Follow ups Brain Thrust Mastery and this year’s Barbara (yes, that’s an album title) have seen the band soften considerably into new wave.
They have managed to remain a successful live draw due to the quality of their shows and their hilarious stage banter. A mild south-coast November evening however finds the Scientists’ missing some of their chemistry and physics.
For the most part, a slightly subdued atmosphere hung over Southsea’s sweatbox. Odd support acts- the ambient techno freakery of Rewards were like putting Trivium on before Coldplay, while Goldheart Assembly’s superb show still recieve a muted response- and a long delay meant that the packed venue quickly got restless, with many fans sat on the floor.
Keith Murray and Chris Cain got a warm response when they walked on stage, but they didn’t burst on with a lick of musical flame. First song Nice Guys- one of the highpoints on the new album- feels a bit limp. It takes an early hit, With Love...opener Nobody Move Nobody Get Hurt to really get the blood pumping and for the Pyramids to live up to its reputation.
And it’s the “classics” that really fire this show up. It’s A Hit and This Scene Is Dead wake everyone up and produce a feverent response. It’s during their most well known song, The Great Escape, that the roof finally bursts off the Pyramids. These moments are wonderful, they just don’t come enough.
That’s not to say that there aren’t other high points from other albums. Jack & Ginger features some quite astonishing guitar work from Murray, His hair may be greying, but he still connects with his decidely pubescent audience. The stinging guitars can’t blunt his voice either, which carries a soulful burr beneath all the mayhem. It’s when he really lets loose on guitar and vocals that the band rediscover their live mojo. The set closes with After Hours (always driving harder live than the slightly insipid studio version) and the closing strains of Led Zep’s Moby Dick. The encore of Cash Cow is suitably electric, and with that, the band is gone into the autumnal evening.
But it’s impossible to shake the feeling that WAS weren’t quite at full pelt. Nerves seemed high on the agenda, as a tetchy audience frequently ignored their comedy, which was less hysterical than it’s famed for. They remain a superb live band when they let go. More of this please, and the band might just see better days.
3/5
Monday 25 October 2010
Dinosaur Pile-Up- Growing Pains
Dave Grohl disciples from Leeds bring the rock.
In interviews around their inception in 2007, Dinosaur Pile-Up frontman Matt Bigland talked of the importance of a Foo Fighters show to their creation, and it’s their influence that saturates their hard-hitting and thrilling debut album.
Born from the ashes of Bigland’s former band Mother Vulpine (mixing QOTSA riffs with dance beats), Dinosaur Pile-Up have drawn favourable comparisons with Biffy Clyro, but really their music is a lot harder than that, lacking the softer touch the Scottish band carry on tracks like Mountains (attempts on tracks like Hey You fall a bit flat).
As well as the work of Mr Grohl, the band cross-breed the grunge-indebted sound of Nine Black Alps with the pop hooks of Ash. At no point do Bigland and his charges (bassist Harry Johns and drummer Steve Wilson- though as the album cover suggests, this band BELONGS to Bigland) wear these influences with any kind of subtlety, but the results can be utterly exhilarating.
The opening one-two of Birds & Planes and Barce-loner is a violent gut punch and one of the best starts to a rock record in recent memory. Mona Lisa, similarly, is bracing and may just turn out to be one of the best hard rock tracks of the year; whilst Love To Hate Me shines with its start-stop quiet-loud dynamic and malevolent glee of the line, “I’m the one who scares your mother...”
On other parts of the album, they’re a band caught between two stools. The production is muddy suggesting an attempt at a low-down and dirty album, but the choruses are arena-sized and Bigland’s vocals seem to be aiming at a larger stage. It’s muddled.
With any luck, their songwriting and ability to use a more original voice will come as they develop. But make no mistake: this is an exciting, smart and at times explosive career birth.
3/5
Essential Tracks:
Mona Lisa
Birds & Planes
Love To Hate Me
In interviews around their inception in 2007, Dinosaur Pile-Up frontman Matt Bigland talked of the importance of a Foo Fighters show to their creation, and it’s their influence that saturates their hard-hitting and thrilling debut album.
Born from the ashes of Bigland’s former band Mother Vulpine (mixing QOTSA riffs with dance beats), Dinosaur Pile-Up have drawn favourable comparisons with Biffy Clyro, but really their music is a lot harder than that, lacking the softer touch the Scottish band carry on tracks like Mountains (attempts on tracks like Hey You fall a bit flat).
As well as the work of Mr Grohl, the band cross-breed the grunge-indebted sound of Nine Black Alps with the pop hooks of Ash. At no point do Bigland and his charges (bassist Harry Johns and drummer Steve Wilson- though as the album cover suggests, this band BELONGS to Bigland) wear these influences with any kind of subtlety, but the results can be utterly exhilarating.
The opening one-two of Birds & Planes and Barce-loner is a violent gut punch and one of the best starts to a rock record in recent memory. Mona Lisa, similarly, is bracing and may just turn out to be one of the best hard rock tracks of the year; whilst Love To Hate Me shines with its start-stop quiet-loud dynamic and malevolent glee of the line, “I’m the one who scares your mother...”
On other parts of the album, they’re a band caught between two stools. The production is muddy suggesting an attempt at a low-down and dirty album, but the choruses are arena-sized and Bigland’s vocals seem to be aiming at a larger stage. It’s muddled.
With any luck, their songwriting and ability to use a more original voice will come as they develop. But make no mistake: this is an exciting, smart and at times explosive career birth.
3/5
Essential Tracks:
Mona Lisa
Birds & Planes
Love To Hate Me
Kings of Leon- Come Around Sundown
On album number five, the Followills are stuck in a rut…
Kings of Leon have had a revelatory couple of years. Fourth album Only By The Night saw the strongest shift yet away from their Southern-fried Strokes sound to songs epic in scope and chorus.
Singles Sex On Fire and Use Somebody were the biggest of 2008 AND 9, and global stadiums beckoned. In traditional indie style, the band stomped around like petulant teenagers, bemoaning their new fans and clearly uncomfortable with this new level of success. Surely this should be their Kid A moment.
What’s most surprising about Come Around Sundown is that it further explores the stadium rock of its predecessor. Lead single Radioactive is the most ambitious piece here, carrying guitars that would make The Edge weak-kneed, while jarringly pleading, “It’s where you came from”. Aside from being unable to get that absurd video off the brain, it all just feels a little half-arsed, and herein lies the problem.
It starts in enough style though. Come Around Sundown follows the tradition of Kings starting albums with a bang. The End has stadium ambition in heaps, but Matthew Followill’s guitar work is at its most swampy and interesting here.
From here, it tumbles sharply downhill, leaving a once exciting band resting hopelessly on their laurels. Tracks like Mary and The Face are plodding-paced dirge. They feature impressive and technical guitar work, and a strong rhythm section in Jared and Nathan, but it all lacks the excitement of the band at the best.
The absolute nadir is Back Down South. It is at least brave as a trip into Good Ol’ Southern country music. Brave, yes, but utterly toe-curling. Clearly aiming for an artist like Loretta Lynn, but ends up far closer to Billy Ray Cyrus gone soft, all with a hideous “Come on down and dance/If you get the chance” lyric by Caleb.
No Money, Birthday and Pony Up bring the album back in line with Aha Shake Heartbreak-era greatness, all dirty guitars and debauched, filthy songwriting (“Come on legs and pantyhose/You look so pretty with your bloody nose” from Birthday).
But the cavalry arrives far too late. The success of previous albums and singles guarantees that this will be an enormous, global record, but this remains an album that Caleb Followill and family could have made in their sleep.
2/5
Essential Tracks:
The End
Birthday
No Money
Friday 13 August 2010
Funky Drummers
!!!- Strange Weather, Isn’t It?
Berlin has been the musical Mecca for those seeking a more dangerous, darker vibe. It worked for Bowie, Iggy and U2, as the air of death and pain hung thick over their recordings in the German capital. However for so called “dance punks” !!! (pronounced Chk Chk Chk, just so we’re clear), prevailing gloom is not on the agenda.
What Berlin has been conductive for with the above artists has also been their very best work, and this certainly rings true for !!!, with Strange Weather, Isn’t It? Aside from anything, their new album boasts some of the best track names in recent times (anyone for Jamie, My Intentions Are Bass and Even Judas Gave Jesus A Kiss?). Their fourth LP is, for the most part, a joyous racket, despite its recording location and the shocking death of drummer Jerry Fuchs, and this event certainly doesn’t seem to affect lyrical content. The album is also far more approachable then previous effort Myth Takes. Dialling down much of the experimentation, the focus is on tight and approachable funk work outs.
Which makes the opening one-two of lead single AM/FM and The Most Certain Sure a slight disappointment. The former steals the drum loop from Fool’s Gold (not necessarily a bad thing, but hardly a fresh approach) whilst the latter’s vocal by frontman Nic Offer sails a bit too close to Right Said Fred (coincidental as the Californians surely won’t be familiar with Richard Fairbrass and co). The aforementioned Jamie... meanwhile isn’t as funny as its title suggests, and as a result sounds more like a parody.
It all comes into better focus with Wannagain Wannagain, all fuzzy, itchy rhythms and horns. It gets the party started a bit late, but still in style, begging the listener to get up and move. Steady As The Sidewalk Cracks brings the band closer to funk pioneers Parliament with languid verses surging into an explosive chorus. It lacks George Clinton’s lunacy but it really doesn’t need it.
Jump Back is another peak, far sparser in instrumentation than the rest of the album, resting on a sinewy bassline, which brings to mind !!!’s 2003 single Me and Giuliani Down By the School Yard. Even Judas... meanwhile discusses Biblical interpretation over an ever building instrumental cyclone, ending in a drum explosion, and it’s percussion that once again drives the band on the rest of this album.
When the band announced their Berlin album, this probably wasn’t what the masses were expecting. Despite this, Strange Weather...stands as their most strangely commercial effort to date, bringing back the funk without it feeling faintly embarrassing. A thrilling aural spectacle.
4/5
Essential Tracks:
Wannagain Wannagain
Steady As The Sidewalk Cracks
Jump Back
Even Judas Gave Jesus A Kiss
Berlin has been the musical Mecca for those seeking a more dangerous, darker vibe. It worked for Bowie, Iggy and U2, as the air of death and pain hung thick over their recordings in the German capital. However for so called “dance punks” !!! (pronounced Chk Chk Chk, just so we’re clear), prevailing gloom is not on the agenda.
What Berlin has been conductive for with the above artists has also been their very best work, and this certainly rings true for !!!, with Strange Weather, Isn’t It? Aside from anything, their new album boasts some of the best track names in recent times (anyone for Jamie, My Intentions Are Bass and Even Judas Gave Jesus A Kiss?). Their fourth LP is, for the most part, a joyous racket, despite its recording location and the shocking death of drummer Jerry Fuchs, and this event certainly doesn’t seem to affect lyrical content. The album is also far more approachable then previous effort Myth Takes. Dialling down much of the experimentation, the focus is on tight and approachable funk work outs.
Which makes the opening one-two of lead single AM/FM and The Most Certain Sure a slight disappointment. The former steals the drum loop from Fool’s Gold (not necessarily a bad thing, but hardly a fresh approach) whilst the latter’s vocal by frontman Nic Offer sails a bit too close to Right Said Fred (coincidental as the Californians surely won’t be familiar with Richard Fairbrass and co). The aforementioned Jamie... meanwhile isn’t as funny as its title suggests, and as a result sounds more like a parody.
It all comes into better focus with Wannagain Wannagain, all fuzzy, itchy rhythms and horns. It gets the party started a bit late, but still in style, begging the listener to get up and move. Steady As The Sidewalk Cracks brings the band closer to funk pioneers Parliament with languid verses surging into an explosive chorus. It lacks George Clinton’s lunacy but it really doesn’t need it.
Jump Back is another peak, far sparser in instrumentation than the rest of the album, resting on a sinewy bassline, which brings to mind !!!’s 2003 single Me and Giuliani Down By the School Yard. Even Judas... meanwhile discusses Biblical interpretation over an ever building instrumental cyclone, ending in a drum explosion, and it’s percussion that once again drives the band on the rest of this album.
When the band announced their Berlin album, this probably wasn’t what the masses were expecting. Despite this, Strange Weather...stands as their most strangely commercial effort to date, bringing back the funk without it feeling faintly embarrassing. A thrilling aural spectacle.
4/5
Essential Tracks:
Wannagain Wannagain
Steady As The Sidewalk Cracks
Jump Back
Even Judas Gave Jesus A Kiss
Wednesday 4 August 2010
Too Blue
Lana Mir- Lana Mir
Jazz-pop is one of the sub genres that create nightmarish visions. Visions of lounge piano, pretentious seriousness and the dreaded Radio 2 playlist. Lana Mir does nothing to escape these clichés.
Her Ukranian background is being pushed to the fore, but an interesting backdrop can only do so much to cover musical stylings so bland they make Katie Melua look like Aphex Twin. She lists her influences as Bjork, Portishead and Marianne Faithfull, but quite where these diverse influences hide on her debut album is unknown.
Far closer as an influence is Blue-era Joni Mitchell, Mir sharing a vocal range that stretches from damaged baritone to vulnerable and airy. What she lacks in comparison is any kind of conviction- Mitchell’s appeal lies in the way she describes her pain, how everything she sings of feels so real. Lana Mir, based on this evidence, doesn’t possess any of that.
The point is that this isn’t necessarily a BAD album, just one that feels entirely forgettable and meaningless. Her cover of the Stone Roses’ classic I Wanna Be Adored (surely one of those songs that no one should be allowed near) is the clearest example of this. Lacking any of the cocky self-assuredness that makes the original such a classic, here Mir singing “I don’t have to sell my soul/it’s already in me” isn’t even vaguely convincing, sounding more like she’s going through the motions. An entirely futile cover version.
There are a few memorable moments on the record. Opener Say You Need Me, is beautifully laid back and summery, whilst Beautiful Day carries a Beatles-ish acoustic vibe, save for turgid lyrics questioning, “Isn’t life beautiful? Don’t be scared because I’m not at all...” Mir’s backing band do their level best to push things a bit further on the likes of Tears Are Not Enough (electronic drum taps and ambient noise) and Goodbye Girl (bossa nova rhythms giving the tiniest hint of an ability to break away from that jazz-pop template, all too fleetingly).
Mostly though, Lana Mir is being pushed as the star and, sadly, she is nowhere near as interesting enough to carry these songs.
2 out of 5
Jazz-pop is one of the sub genres that create nightmarish visions. Visions of lounge piano, pretentious seriousness and the dreaded Radio 2 playlist. Lana Mir does nothing to escape these clichés.
Her Ukranian background is being pushed to the fore, but an interesting backdrop can only do so much to cover musical stylings so bland they make Katie Melua look like Aphex Twin. She lists her influences as Bjork, Portishead and Marianne Faithfull, but quite where these diverse influences hide on her debut album is unknown.
Far closer as an influence is Blue-era Joni Mitchell, Mir sharing a vocal range that stretches from damaged baritone to vulnerable and airy. What she lacks in comparison is any kind of conviction- Mitchell’s appeal lies in the way she describes her pain, how everything she sings of feels so real. Lana Mir, based on this evidence, doesn’t possess any of that.
The point is that this isn’t necessarily a BAD album, just one that feels entirely forgettable and meaningless. Her cover of the Stone Roses’ classic I Wanna Be Adored (surely one of those songs that no one should be allowed near) is the clearest example of this. Lacking any of the cocky self-assuredness that makes the original such a classic, here Mir singing “I don’t have to sell my soul/it’s already in me” isn’t even vaguely convincing, sounding more like she’s going through the motions. An entirely futile cover version.
There are a few memorable moments on the record. Opener Say You Need Me, is beautifully laid back and summery, whilst Beautiful Day carries a Beatles-ish acoustic vibe, save for turgid lyrics questioning, “Isn’t life beautiful? Don’t be scared because I’m not at all...” Mir’s backing band do their level best to push things a bit further on the likes of Tears Are Not Enough (electronic drum taps and ambient noise) and Goodbye Girl (bossa nova rhythms giving the tiniest hint of an ability to break away from that jazz-pop template, all too fleetingly).
Mostly though, Lana Mir is being pushed as the star and, sadly, she is nowhere near as interesting enough to carry these songs.
2 out of 5
Essential Tracks:
Say You Need Me
Goodbye Girl
Good Night
UNKLE- Where Did The Night Fall?
There are some artists who you always know what to expect from. AC/DC will continue to re-release Highway to Hell or Back In Black under different titles, Lou Reed will continue to get grumpier until his face collapses in on itself, and Johnny Borrell will continue to be a tosser, releasing albums he will proclaim to be game changer, when the only game affected will be the 100 worst album lists.
To this group, we must add James Lavelle, the mastermind behind UNKLE. His records are filled with moody and vaguely cinematic electronica/dance music that you wouldn’t really want to dance to, whilst giving out vocal parts to an ever-increasing roster of guest artists. For the most part, it’s a formula that has been stuck to for Where Did The Night Fall.
I say for the most part because there has been something of a sights-lowering, as the best tracks reach out into new territory, with excursions into Chemical Brothers beats (Natural Selection, Caged Bird), Joy Division sparseness (On a Wire) and, best of all, sonic adventures close to those of recent Bjork records (the wonderful Follow Me Down).
Overall though, the reliance on filmic soundscapes has been dimmed, and songs in that region make the record sag in places, such as Falling Stars, and the string drenched Ablivion. It remains a shame that Lavelle is unable to leap completely for his bored sounding comfort zone.
Bravery is shown a bit more in his choice of guest stars. Mostly, A-list names like Thom Yorke, Ian Brown or Josh Homme (with the exception of Mark Lanegan on stunning closer Another Night Out, where the Screaming Trees’ man’s paranoid baritone burr suits the tone perfectly), opting for more underground artists such as Sleepy Sun, Elle J and the Black Angels, giving the record a more surprising quality than previous efforts.
This isn’t a great record then, just a good enough one. At nearly an hour, it doesn’t do enough to stop it rather outstaying its welcome, and it leaves the listener with an urge to plead with Lavelle to take more risks. However, when he does, there’s enough evidence to suggest UNKLE might be worth getting excited about again.
3 out of 5
There are some artists who you always know what to expect from. AC/DC will continue to re-release Highway to Hell or Back In Black under different titles, Lou Reed will continue to get grumpier until his face collapses in on itself, and Johnny Borrell will continue to be a tosser, releasing albums he will proclaim to be game changer, when the only game affected will be the 100 worst album lists.
To this group, we must add James Lavelle, the mastermind behind UNKLE. His records are filled with moody and vaguely cinematic electronica/dance music that you wouldn’t really want to dance to, whilst giving out vocal parts to an ever-increasing roster of guest artists. For the most part, it’s a formula that has been stuck to for Where Did The Night Fall.
I say for the most part because there has been something of a sights-lowering, as the best tracks reach out into new territory, with excursions into Chemical Brothers beats (Natural Selection, Caged Bird), Joy Division sparseness (On a Wire) and, best of all, sonic adventures close to those of recent Bjork records (the wonderful Follow Me Down).
Overall though, the reliance on filmic soundscapes has been dimmed, and songs in that region make the record sag in places, such as Falling Stars, and the string drenched Ablivion. It remains a shame that Lavelle is unable to leap completely for his bored sounding comfort zone.
Bravery is shown a bit more in his choice of guest stars. Mostly, A-list names like Thom Yorke, Ian Brown or Josh Homme (with the exception of Mark Lanegan on stunning closer Another Night Out, where the Screaming Trees’ man’s paranoid baritone burr suits the tone perfectly), opting for more underground artists such as Sleepy Sun, Elle J and the Black Angels, giving the record a more surprising quality than previous efforts.
This isn’t a great record then, just a good enough one. At nearly an hour, it doesn’t do enough to stop it rather outstaying its welcome, and it leaves the listener with an urge to plead with Lavelle to take more risks. However, when he does, there’s enough evidence to suggest UNKLE might be worth getting excited about again.
3 out of 5
Essential Tracks:
Natural Selection
Follow Me Down
Another Night Out
Gorilla Warfare
Local Natives- Gorilla ManorTrend-watchers take note: things have changed. New York spiky artiness is out, and the West Coast is in.
Bands like Fleet Foxes, The Drums and Band of Horses have all risen to due prominence, and to that list, Los Angeles’ Local Natives should be added. Debut album Gorilla Manor includes elements as diverse as sun-kissed Americana melodies, wonky Foxes’ harmonies, afrobeat percussion, obtuse lyrics and a Talking Heads cover.
Somehow all the elements gel wonderfully. This mesh of styles has drawn favourable comparisons with Grizzly Bear, but Local Natives make an altogether more immediate racket. The same melodic oddness is there in abundance, but the 70s-style Californian gleam aims for the mainstream. The joy of this record is in repeated listens, where the forward thinking attitude shines through.
Nowhere is this more obvious than on opener Wide Eyes, where a softly plucked and spaced out guitar riff gives way to an ever-growing crescendo backed by the drum patterns of Matt Frazier. The languid melodies do their best to hide it, but its Frazier’s propulsive sticks that really pushes what’s on offer here, on the beautiful opener and on other tracks like the thrilling Camera Talk. The others more than hold their ground; The Beach-Boys-gone-folk sounds are among the strongest on record in recent years.
Vocalist Taylor Rice has a yearning quality to his voice that is reminiscent of James Mercer, giving everything an emotional weight, especially the delicate Who Knows, Who Cares, where he reassures a lover that “Even with your doubts it’s ok/Take into account that it’s not about to change”. There’s an honesty there that just avoids slipping into earnestness.
The rest of his lyrics carry an obliquely poetic, twisting the image of a sunset in Sun Hands into weird new shapes (“They wrap her tail/In a taunting gesture that seems to sing out loud”), elsewhere taking on a traffic jam in World News (“But right after you complete your merge, the lane you started in gets going”). These might be familiar themes and metaphors, but the indie side of proceedings means they avoid cliché.
The record takes more risks than expected also. Songs carry jabs of sudden electric guitar here, whooshing sounds there and a subtle mandolin backing courtesy of Ryan Hahn. It also manages to take switches in tone further than Fleet Foxes, jumping from quiet introspection to sheer rocking out in a matter of seconds, best found on Heads cover Warning Sign and Sun Hands.
This is an excellent debut from an exciting band, who lose some of their live intensity on record but make up for it with beautiful production sheen and ideas that reveal themselves slowly. One to watch for sure.
4 out of 5
Essential Tracks:
Sun Hands
World News
Who Knows, Who Cares
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